Paper gepresenteerd op bijeenkomst van kenniskring toerisme. het paper behandelt de randvoorwaarden van sorytelling als middel voor expliciete kennisoverdracht over het WWW.
Innovations in digital storytelling techniques have spurred on the development of new journalistic and audience practices. The production processes of interactive and immersive journalistic narratives are highly technological and require specialist knowledge of both journalism and design, and require producers to consider how audience engagement and user activity both fit into their story. The resulting narratives redefine the boundaries of what is considered a journalistic production, often requiring users to act within the story, thereby challenging the existing author-user relationship. In this chapter we discuss how the boundaries of journalism are redefined or blurred during both the production and reception processes of interactive, immersive journalism.
The 18 full papers and 17 short papers, presented together with 17 posters and demos, were carefully reviewed and selected from 99 submissions. The papers are categorized into the following topical sub-headings: Narrative Systems; Interactive Narrative Theory; Interactive Narrative Impact and Application; and the Interactive Narrative Research Discipline and Contemporary Practice
In view of the 75th commemoration of the liberation of World War II, Visit Brabant asked BUas to connect the main heritage locations in the province through storytelling in order to attract more visitors.In 2015, we developed a narrative concept entitled “Crossroads. Life changing stories 40-45”. In 2016, we developed a brand guide which explains storytelling guidelines. In collaboration with Brabant Heritage and Brabant Remembers, in 2017-208, 15 meetings were organized all over the province to collect personal WWII narratives. From over 600 narratives, together with a group of historians, we selected 75 narratives. Under our guidance, these 75 narratives have been rewritten into Crossroads stories by some 20 different authors. Brabant Remembers has launched a marketing campaign and (digital and physical) experiences based on these stories. The aim is to touch visitors and local people emotionally with personal stories from the past, and to offer new ways of interacting with these stories, especially for young people.WhenThe project has been running since 2015. We currently play an advisory role in the development of the Brabant Remembers app (for example augmented reality videos), and in physical products such as the Dilemma Maze and the Stilllevens of Studio Verdult.Partners: Visit Brabant, Brabant Remembers, Erfgoed Brabant, Stichting Crossroads
Within the film and theater world, special effects make-up is used to adapt the appearance of actors for visual storytelling. Currently the creation of special effects makeup is a time-consuming process which creates a lot of waste that doesn’t fit in with the goals of a sustainable industry. Combine with the trend of the digitization of the movie and theater industry which require faster and more iterative workflows, the current ways of creating special effects makeup requires changing. Within this project we would like to explore if the traditional way of working can be converted to a digital production process. Our research consists of three parts. Firstly, we would like to explore if a mobile face scanning rig can be used to create digital copies of actors, and such eliminate the need to creates molds. Secondly, we would like to see if digital sculpting can replace the traditional methods of sculpting molds, casts and prosthetics. Here we would like to compare both methods in terms of creativity and time consumption. The third part of our project will be to explore the use of 3D printing for the creation of molds and prosthetics.
This Professional Doctorate (PD) project explores the intersection of artistic research, digital heritage, and interactive media, focusing on the reimagining of medieval Persian bestiaries through high dark fantasy and game-making. The research investigates how the process of creation with interactive 3D media can function as a memory practice. At its core, the project treats bestiaries—pre-modern collections of real and imaginary classifications of the world—as a window into West and Central Asian flora, fauna, and the landscape of memory, serving as both repositories of knowledge and imaginative, cosmological accounts of the more-than-human world. As tools for exploring non-human pre-modern agency, bestiaries offer a medium of speculative storytelling, and explicate the unstable nature of memory in diasporic contexts. By integrating these themes into an interactive digital world, the research develops new methodologies for artistic research, treating world-building as a technique of attunement to heritage. Using a practice-based approach, the project aligns with MERIAN’s emphasis on "research in the wild," where artistic and scientific inquiries merge in experimental ways. It engages with hard-core game mechanics, mythopoetic decompressed environmental storytelling, and hand-crafted detailed intentional world-building to offer new ways of interacting with the past that challenges nostalgia and monumentalization. How can a cultural practice do justice to other, more experimental forms of remembering and encountering cultural pasts, particularly those that embrace the interconnections between human and non-human entities? Specifically, how can artistic practice, through the medium of a virtual, bestiary-inspired dark fantasy interactive media, allow for new modes of remembering that resist idealized and monumentalized histories? What forms of inquiry can emerge when technology (3D media, open-world interactive digital media) becomes a tool of attention and a site of experimental attunement to cosmological heritage?
